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Copyright of Imagens da Educação is the property of Universidade Estadual de Maringa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Palíndromo is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The search for an "original" version of traditional fairy tales is a subject that is dear to critics within the genre. Both the persistent attempts to delimit the creative role of Charles Perrault and the Grimm brothers, as well as searches for records of previous oral versions, denounce the interest in a Cartesian pursuit of the truth of fairy tales, which paradoxically goes against the type of knowledge of which art and literature themselves consist: a sui generis superior form of knowledge governed by the bonds of the truth of the possible. Taking the work of Almodóvar e Taeger (2009) as an example, we dedicate ourselves to the reflections that it, as a metafictional textuality, raises about itself. [ABSTRACT FROM AUTHOR]

This article has the intention to pay attention to some latent aspects in fairy tales, in the versions produced by the Brothers Grimm and Charles Perrault, and seen from the psychoanalytic perspective, in the reading of Bruno Bettelheim (1980). We will make an analysis of some of the tales by the above authors, under the viewpoint of Bettelheim, who, following the Freudian and Lacanian theories, invests in the Oedipus Complex, to relate the three phases of this complex, manifested in the characters of Snow White, Cinderella, Prince Frog, The Girl of the Geese, John and Mary, The Fairies, Rapunzel, Little Thumb, and Little Red Riding Hood. This is a bibliographical analysis, whose objective is to allow a reflection on the possible identification of children with the characters in these tales, in order to facilitate their immersion in the world, based on the information inscribed, according to Lacan, in the Imaginary, Symbolic, and Real, structures that, besides not disregarding Freudian concepts, are able to expand them. [ABSTRACT FROM AUTHOR]

Copyright of Estilos da Clínica is the property of FEUSP - Faculdade de Educacao da USP - Universidade de Sao Paulo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article aims to analyze the translation process in poetry considering the works of Angela Carter as a translator. Carter was a noted British author, best known for her novels and rewrites of fairy tales, and for her works related to science fiction. For this article, by using the book Unicorn: the poetry of Angela Carter (2015) and based on Lefevere's theories of translation (1975, 1992, 2003) we propose a translation exercise from English into Brazilian Portuguese of an excerpt from her poem - namesake - titled "Unicorn". In this sense, we seek to understand how literary creation and literary translation are presented in Carter's work as a wordsmith - an artist of the word. [ABSTRACT FROM AUTHOR]

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After the structuralism period but also the boom of poststructuralist deconstruction, this study aims to explore the functionality of the models of narrative organization proposed by Formalist and Structuralist theories, by taking contemporary themes as a basis. The favored corpora for demonstration: the film Snow White and the Huntsman (2017) - to which we apply the 31 functions developed by Russian folklorist Vladimir Propp - and the computer animation Shrek (2012) - considering the model of predictability developed by Lithuanian linguist A.J. Greimas. [ABSTRACT FROM AUTHOR]

Copyright of Pensares em Revista is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The main aim of this study is to explore if, and if so, how Rabih Alameddine, Kim Addonizio, and Kellie Wells have managed to sustain, replicate, disregard, or redefine the patriarchal ideology customarily associated to gender issues within the fairy-tale tradition. What is really striking is that, several decades after the revisionist project undertaken by the "Angela Carter generation", these new voices experimenting with the field of fairy tales still feel the need to revisit the same mythemes and fight against the same ideology and values that pervaded twentieth century retellings of fairy tales. The subversive potential of the fairy tale retellings seems to have been surpassed by the powerful agenda of a patriarchal social system, which, despite the social, psychological and political changes, still retains its status quo.

This article analyzes the story Pele de asno, by Charles Perrault, seeking to understand childhood and sexuality configured in the historical context of the compilation of this production. The study showed that, in that context, even though there was an increasing questioning and disapproval of sexual activities between children and adults or practices such as incest, these were not uncommon and continued to be portrayed in the children's stories. It should be noted that the perception built up until then about childhood was not at the heart of the concern with care based on moral and educational precepts such as those currently valued. [ABSTRACT FROM AUTHOR]

Copyright of Revista Confluências Culturais is the property of Fundacao Educacional da Regiao de Joinville - FURJ and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study aims to investigate the translation of violence, to propose and to analyse the translation strategies of English Fairytales (EFT) to the Portuguese language. The theoretical framework of this study is based on the interface of Corpus-based Translation Studies (CTS) and Descriptive Translation Studies (DTS). Klingberg (1986) purification concept adapted as translation strategies proposed by Chesterman (1997). For the alignment and corpus analysis, it is used COPA-TRAD – Parallel Corpus for translation research (Fernandes, L. & Silva, 2014). The analysis revealed that the target text had been translated under the moral and religious motivational factors of the source culture because the literature translated in Brazil still had to comply with the Portuguese requirements for translating for children (Coelho, 1987).

This article presents part of an academic research that aimed to investigate interdisciplinary perspectives of the pedagogical practice of Basic Education of Nazaré da Mata County's teachers, at Zona da Mata Norte in the state of Pernambuco, through music in fairy tales. The text specifically addresses the enrichment of students' vocabulary. The qualitative investigation, with an emphasis on action research, had as its locus three public schools, where three teachers and ninety students from the fourth year of Elementary School were subjected. Data collection was carried out through participant observation and pedagogical workshops. The results allowed us to conclude that interdisciplinary experiences through music in fairy tales contribute to the development of orality, reading, and autonomy besides favoring the enrichment of students' vocabulary. [ABSTRACT FROM AUTHOR]

This article analyzes two contemporary tales in order to problematize the prescription of femininities produced by the traditional fairy tales and by the reactionary discourse. We argue, based on the concept of gender performativity thought by Judith Butler, that on one hand the anti-gender offensive prescribes that women need to be princesses and it spreads a reactionary discourse that produces authorized ways of performing femininities according to the traditional fairy tales. On the other hand, some contemporary fairy tales resist and re-exist to the reactionary discourse and gender norms and use the multicultural discourse to produce princesses that perform in different ways. Based on the cultural studies, we understand that the curriculum is cultural and it is a discourse that produces, authorizes and creates knowledge. It unfolds itself into different pedagogies. In this sense, the narratives of the fairy tales that commonly take place in the curriculum addressed to children compose a certain script regarding the learning of gender norms. They teach norms to girls and boys, prescribing normal femininities and masculinities. However, they can also problematize those norms. In the analyzed stories it was possible to observe other gender performative scripts (BUTLER, 2019). The research methodology was constructed with elements of the discourse analysis based on Foucault and the results showed that the narratives produce other ways of presenting the princess' behavior and plurality on the characterization of the characters' bodies. [ABSTRACT FROM AUTHOR]

Copyright of Pensares em Revista is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pensares em Revista is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Wander Piroli's storybook É proibido comer a grama (2006) is composed of 18 narratives, in which the theme of violence stands out, especially that which emerges in the urban space, having Belo Horizonte as its main scenario, its nerve center and bohemian surroundings, such as the Lagoinha neighborhood. Piroli's characters are the forgotten, excluded and social invisibles, ordinary people with their day-to-day problems: the poor, the black, the prostitute, the worker, the thief, the drunk, among other marginalized types. The purpose of this article is to analyze, from the perspective of violence, the tragicity in the story "Na velha Guaicurus", considering the concepts of cultural violence, structural violence and direct violence as described by Thomas Conti (2016). The tale tells the love story between the prostitute Etelvina, and the injections applicator João de Deus, who at the beginning alludes to the classic fairy tale (even though they are unlikely characters for that), ends tragically with the murder of the protagonist. [ABSTRACT FROM AUTHOR]

In this paper, I argue that the female characters and the more-than-human nature in the fairy tales by Marina Colasanti suffer corelated violence, performed by male characters representative of the capital-patriarchal culture. However, the oppressed characters resist this hostility through metamorphosis, which can be read, metaphorically, as transcorporeal movements capable of resignifying the concept of woman and nature, both considered as passive and apt to exploration by the patriarchy. Regarding a possible essentialism in this interconnection, I argue that the author uses it in a strategic way. Thus, this paper is developed on the heels of feminist ecocriticism. [ABSTRACT FROM AUTHOR]

The fantastic is a fictional narrative genre in which occur unverifiable or irreproducible events in the referential reality. However, unlike other genres such as the marvellous or the fairy tales, we are faced with a story in which these events are perceived as supernatural in the same space-time of the text, which leads us to question the reasons why European authors from the 19th century have invested so much of their time and efforts in their production. We adopted a social-cognitive approach according to which every narrative, textual or discursive genre is a social-cognitive response to a social-cultural contingency that, at this historical moment, is the end of a society based on vertical time (magical mentality), and its conflict with that is guided by horizontal time (scientific mentality). In general, fantastic fiction writers play with readers' confirmation bias, presenting recurring situations in everyday normality, such as altered states of consciousness and random coincidences, which are seen as manifestations of the supernatural in referential reality. Jean Lorrain (1855-1906) was a French author who, in his fantastic tales, made extensive use of altered states of consciousness, frequently triggered by the consumption of hallucinogenic substances, to present to his readers the idea that in the heart of the Belle Époque they could open the 'doors of perception' and see the supernatural truth under the veil of everyday normality. [ABSTRACT FROM AUTHOR]

This article had as its starting point a chapter of the Master Dissertation entitled "The reproduction of gender inequalities in marvelous fairy tales as circumscribed marks in Pré-school Education" defended in February 2017 on the problematization of the social roles attributed to the gender of the birth of the subjects and the various constructions attributed as inherent, being present in several areas, among them the school. The theoretical field that underlies the research undertaken in the master's degree and that is present in this article is the Critical Theory having as main theoretical Pierre Bourdieu and its categories of analysis. This article presents as a theoretical reflexive strategy on how much gender inequalities are still present and that the idea of overcoming often reinforces the idea that opportunities are for everyone and that many are not present because they do not want or strive hard enough. [ABSTRACT FROM AUTHOR]

This article will, through a bibliographical research, make an evaluation of the use of children's stories in the education of children from an Adventist perspective. Adventists have historically maintained an extremely cautious approach to children's tales, especially fairy tales. The main reason for this resistance is the interpretation of some texts written by Ellen White, a pioneer of the Adventist movement and an important voice in Adventist pedagogy. [ABSTRACT FROM AUTHOR]

Copyright of Boletín Galego de Literatura is the property of Universidad de Santiago de Compostela, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Sexuality is constructed through patterns of behavior and customs of mankind throughout the history, and various factors and results in you release or suppression. Fairy tales originated from orality and recounted over the centuries put the women constantly inferior to the men, naturalizing female vulnerability. In this view, this article of bibliographic nature sought to meet, describe and discuss what the scientific studies say about the use of short stories in high school, trying to analyze its use as a pedagogical strategy to mitigate the stereotypes of female inferiority and other prejudices. So, confirmed the assertiveness of this approach, since it can transmit values, strengthen or criticize paradigms and gender issues. [ABSTRACT FROM AUTHOR]

This project aimed to provide for the participants children a better cognitive and emotional development through reading, working the link between family and child. This is a qualitative research that had as sample children from 06 to 09 years old. Some drawings and tales were used as tools. Children participating in the research are from a social project that is located in the peripheral region and with high danger levels and social vulnerability in the city of Americana. It was observed that the tales act as facilitators, and it is possible to have an outline of child psychological distress. So when the child begins to have contact with the fairy tales, it begins a construction process of the “Me” because the tales arouse fantasy and imagination and make possible the valorization process. The results were significant in relation to the acquisition of social skills, which helped to increase the self-esteem, fostering socialization. It promoted the production of personal knowledge, recreation, and finally the interaction and the creation of a healthy environment.

Esta investigación ofrecerá una reflexión sobre el uso de los cuentos de hadas como fuente para el historiador, mostrando de esa forma la aproximación que tiene el cuento de la Bella y la Bestia, con los conceptos de la belleza/fealdad y la civilización/barbarie. Así, el análisis se basará, en la relación que tienen las adaptaciones cinematográficas con dicho cuento; también, podemos observar aquella dicotomía con el lenguaje cinematográfico, donde Bella un personaje civilizador, intenta domar a aquel monstruo (La Bestia). No obstante, se tomará como base el cuento escrito por Jeanne- Marie LePrince de Beaumont, para mirar cuáles son las características de estas dos dualidades antes mencionadas y, de esa manera, analizar en las adaptaciones cinematográficas que se realizaron en Estados Unidos entre 1960 hasta el 1991, las transformaciones que ha tenido esta historia, para comprender la forma en que la sociedad destaca, en las representaciones de los personajes, las virtudes o los defectos. This research offers a reflection on the use of fairy tales as a source for historians, showing thus the approach to the tale of Beauty and the Beast with the concepts of beauty/ugliness and civilization/barbarism. Thus, the analysis is based on the relation between the cinematographic adaptations and the original tale. It also presents the cinematographic language dichotomy in which Beauty, a civilized character, tries to tame the monster (Beast). The study is based on the tale written by Jeanne-Marie Leprince de Beaumont and it is focused on identifying the characteristics of the aforementioned dualities. After identifying the characteristics, the article presents an analysis of the transformations suffered by the story in the cinematographic adaptations produced in the United States between 1960 and 1991 in order to understand the way in which the society highlights the virtues or the defects in the representations of the characters. This research offers a reflection on the use of fairy tales as a source for historians, showing thus the approach to the tale of Beauty and the Beast with the concepts of beauty/ugliness and civilization/barbarism. Thus, the analysis is based on the relation between the cinematographic adaptations and the original tale. It also presents the cinematographic language dichotomy in which Beauty, a civilized character, tries to tame the monster (Beast). The study is based on the tale written by Jeanne-Marie Leprince de Beaumont and it is focused on identifying the characteristics of the aforementioned dualities. After identifying the characteristics, the article presents an analysis of the transformations suffered by the story in the cinematographic adaptations produced in the United States between 1960 and 1991 in order to understand the way in which the society highlights the virtues or the defects in the representations of the characters.

Since the beginning of the 21st century, different Brazilian publishing houses have released Charles Perrault’s Stories or Tales of Olden Days with Morals in editions which present rewritings of the 17th century French author’s tales done by translators and adaptors of great prestige in the translation area or in children’s literature: Mário Laranjeira (Iluminuras, 2007), Maria Luiza Borges (Zahar, 2010), Ivone Benedetti (L&PM, 2012), Rosa Freire d’Aguiar (Companhia das Letrinhas, 2012), Katia Canton (DCL, 2005) and Walcyr Carrasco (Manole, 2009; Moderna, 2013). Besides promoting a rediscovery of the author by the Brazilian reading public, these rewritings – translations and adaptations – also help to promote and value his work, with editions that contain paratexts commenting on Perrault’s life and work as well as on the work done by the translator or adaptor. Considering the visibility of the translator/adaptor’s work provided by the paratexts that accompany the rewritings, this article discusses how a new publishing project is able to resignify a rewriting, in this case, Walcyr Carrasco's adaptation of Perrault’s tales, first launched by Manole (2009) and now in a new edition published by Moderna (2013), with a preface written by Regina Zilberman.

The fairy tales with their literary form, given by Charles Perrault in 17th century, have become with the passing of time a part of collective patrimony. No wonder many writers have been making use of this source in order to create their versions of Perrault’s stories. The most interesting fairy tales seem to be those which rewrite Bluebeard. One of them is Amélie Nothomb’s novel, published in 2012 and supporting the same title, in which readers can find a realisation of the phenomenon called by G. Genette a “pragmatic transposition” (“transposition pragmatique”).

Copyright of Revista Internacional Interdisciplinar INTERthesis is the property of Revista Internacional Interdisciplinar INTERthesis and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper analyzes some aspects of the original version of 'Beauty and the Beast', written by Madame de Villeneuve in 1740, in order to highlight the work's critical feature in relation to certain practices common to the time when it was written, such as arranged marriages, women's reclusive rearing and some bourgeois values. The aim is to look closely at the romance's emancipatory aspect in what concerns female characters. For that, the paper uses the theoretical prepositions of Bruno Bettelheim, Diana & Mário Corso, Philippe Ariès and Alan Macfarlane, along with reflexions on the female experience and the bourgeois morality in the eighteenth century. [ABSTRACT FROM AUTHOR]

Copyright of Madrygal: Revista de Estudios Gallegos is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

According to scholars, Grimm’s Kinder- und Hausmärchen seems to have promoted patriarchal bourgeois values as part of the socialization process in the nineteenth century, modelling children’s gender identity and behaviour over time. Taking into account, under the hegemonic representations of gender, that female identity becomes associated with a set of values and behaviours, we intend to analyse comparatively portrayals of Grimm’s and contemporary Portuguese children’s literature princesses. Our aim is to find out in what ways those princesses’ images of the twenty-first century are substantially different from those conveyed by Grimm's fairy tales, analysing their emancipatory potential. Finally, we wish to apprehend which ideologies underpin those portrayals and to verify if they effectively lead to a new world vision by depicting women as real free human beings.

After feminist and psychoanalytic criticism showed interest in fairy tales in the 1970s, those narratives were upscaled from mere folkloric curiosities to authentic literary modes, suitable to be included in official school syllabuses. This article suggests ways of making use of fairy tales to introduce literature to EFL learners in different age groups and teaching contexts, taking into account archetypical, linguistic, discursive, thematic, critical and/or stylistic aspects of these texts. [ABSTRACT FROM AUTHOR]

Resumen: En este trabajo presentamos un análisis de las principales colecciones de cuentos populares de Portugal y España y de las características de los movimientos de recolección, clasificación y estudio de las producciones. Presentamos igualmente los antecedentes teóricos que sustentan las actividades de los folcloristas hispanolusos agrupados en las Sociedades del Folklore de finales del siglo XIX, cuyos objetivos y metodología se consideran junto a sus contribuciones fundamentales. También se muestra el grado de fidelidad etnográfica en las versiones de los distintos recolectores de cuentos, así como las características generales de las colecciones. Nos ocupamos asimismo de ofrecer algunas versiones de cuentos de amplia difusión en la península ibérica y procedemos al trabajo comparativo de los cuentos de Portugal y España. Finalmente, y dada nuestra pertenencia a un Departamento de Didáctica de la Lengua y la Literatura, reflexionamos sobre las posibilidades que ofrecen los cuentos populares hispanolusos para ser utilizados en los contextos educativos.Abstract: The current essay shows an analysis of the main fairy tales’ collections from Portugal and Spain, as well as it analyses the characteristics of the movements of collection, classification and study of the literary works. We also show the theoretical backgrounds that maintain the activities of the Spanish-portuguese folklorists assembled in the Folklore Societies of the end of the nineteenth century, whose objectives and methodology are analysed together with their main contributions. It is also shown the ethnographical fidelity degree in the several tales collectors’ versions, as well as the collections’ main features. We also deal with providing several tales’ versions of a wide spreading in the Iberian Peninsula and we go through the comparison between the tales from Portugal and Spain. Finally, and due to our belonging to the Department of Didactics of Language and Literature, there is a reflection on the possibilities that the Spanish-portuguese fairy tales have concerning their use in the educational situations.

Second Language Acquisition (SLA) has been the focus of many linguists who have studied the process through varied perspectives, (e.g. Ellis, 1997; Lantolf, 2000; Gardner, 1968, to quote but a few) so that they may be able to interpret the way learners gather information regarding a second language process. However, such foci have been limited to cognitive processes and other factors (e.g. cultural, socio-cognitive) rather than placed on the learners' experiences themselves. In view of this, this paper investigates learners' experiences through the analysis of a group of self narratives recorded by the AMFALE (Aprendendo com memórias de falantes e de aprendizes de língua estrangeira)² project, while, at the same time, analyzes such autobiographies in the light of Leppänen and Kalaja's (2002) work on autobiographies as learners' identities constructions, based on Vladimir Propp's book Morphology of the Folktale (2000). The study is divided in two parts: the first one briefly reviews the process of identity construction and the importance of autobiographies as a means of expression of the self. Besides, it also focuses on the criteria set forth by Leppänen and Kalaja (2002) for the analysis of autobiographies, based on Vladimir Propp's book Morphology of the folktale (2000). The second part focuses on the analyses of AMFALE autobiographies as stated above.A Aquisição de uma Segunda Língua (ASL) tem sido enfocada por vários pesquisadores que estudaram o processo sob diversas perspectivas (ex.: Ellis, 1997; Lantolf, 2000; Gardner, 1968), para poderem interpretar como os aprendizes adquirem a L2. Entretanto, esses estudos têm se limitado aos processos cognitivos e a outros fatores (cultural e sócio-cognitivo, por exemplo), em vez de focalizar as experiências dos aprendizes. Em virtude disso, este estudo investiga as experiências de aprendizes por meio de um grupo de auto-narrativas registradas pelo Projeto AMFALE (Aprendendo com memórias de falantes e de aprendizes de línguas estrangeiras), tendo como suporte básico o trabalho desenvolvido por Leppänen e Kalaja (2002), no qual as autoras, com base na teoria de Vladimir Propp sobre a morfologia do conto de fadas (2000), investigam o processo de aprendizagem de L2 a partir de auto-narrativas que refletem o processo heróico, ainda que árduo, dos contos de fadas, detalhado por Propp. Para tanto, o artigo se divide em duas partes. A primeira faz uma breve revisão do processo de construção de identidade, da importância da narrativa autobiográfica como expressão de identidade, chegando, por fim, aos critérios de análise de autobiografias no processo de aprendizagem de L2, identificados por Leppänen e Kalaja (2002). A segunda parte do estudo analisa alguns exemplos de autobiografias do projeto AMFALE sob a luz das referidas teorias.

This paper presents a research which aimed to investigate written language and appropriation of literate culture in Child Education, based on fairy-tales. In order to do so, an intervention was carried out with 3 and 4 year-olds enrolled at a public Child Education Center in Tubarão town (SC). The instruments used for data collection comprised written (field journal) and photographic records. Regarding data analysis, theoretical frameworks put forward by Baptista (2010, 2012), Machado (2002), Mello (2010), and Soares (2003), among others, were adopted. that the fidings point to the fairy tales enable literacy practices that expand the literary repertoire of the small child. [ABSTRACT FROM AUTHOR]

This work's objective is to seek understanding towards the imaginary of the Third Woman described by Gilles Lipovetsky in Maleficent movie (Robert Stromberg, 2014) from the homonymous character. The present article addresses the representation of the female gender in contemporary cinema's Fairy Tales. The cinema, as a technology of the imaginary, provides images to think the present and our time's actual imaginary - and, in this case, in the scope of female representation in western societies. We will execute an analysis of the character Maleficent through a methodological matrix based on the Third Woman's image and in the social contextualization of women's role in western society, paying attention to the categories of love and beauty. We will think Maleficent as a contemporary spirit of the time, which constitutes the crystallization of a pulsating imaginary that shapes female representation in our society. [ABSTRACT FROM AUTHOR]

Copyright of Revista Estudos Feministas is the property of Revista Estudos Feministas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Este artigo refere-se a um estudo inicial dos processos discursivos da língua brasileira de sinais (LIBRAS), no gênero contos de fadas, à luz da teoria enunciativa de Bakhtin. As análises realizadas, embora iniciais, apontaram alguns aspectos discursivos relevantes sobre a LIBRAS, principalmente no que se refere à dinâmica interdiscursiva que a constitui, ou seja, à compreensão de como as diferentes vozes presentes nos textos são construídas, como elas se diferenciam quanto aos aspectos composicionais, como assimilam o discurso do outro e como se inter-relacionam entre si e com o todo textual para o tratamento do tema.This article refers to an initial study of the discoursive processes of the Brazilian Sign Language (LIBRAS) in the fairy tales genre under the light of the enunciative theory of Bakhtin. Current analysis data, although in its early stages, pointed out some relevant discoursive aspects about LIBRAS, mainly those related to the constitution of its interdiscursive dynamic. It refers to the understanding of how the different voices present in the text are built, how they differ in their compositional aspects, how they assimilate the discourse of other, and how they interrelate to each other and to the full context regarding the approach of the theme.

A proposta deste artigo é uma reflexão sobre o tratamento dado à oralidade na educação infantil. Tomou-se, como referência, a forma como os contos de fadas são apresentados aos alunos, pêlos professores. Foi analisada a abordagem dada pelo Referencial Curricular para Educação Infantil (1998) à linguagem oral e escrita, bem como trechos de entrevistas realizadas com professores de educação infantil, em uma cidade do interior paulista, como parte de uma pesquisa que resultou na dissertação de Mestrado da autora. Como resultados, percebemos que a escola, em sua função alfabetizadora e por acreditar que as crianças provêm de um meio sócio-cultural desfavorecido, valoriza a linguagem escrita e despreza a oralidade, que perde sua função auxiliar na construção simbólica da criança, o que facilitaria o próprio processo de alfabetização.The aim of this paper is a reflection on the treatment given to orality in infant education. One takes as a reference the way fairy tales are presented to the students by the teachers. The approach given by the Standard Curriculum for Infant Education (1998) was analyzed in relation to oral and written language. Parts of interviews concerning the acquisition of literacy, made with infant education teachers in a city of the state of São Paulo, Brazil, and which were part of the research that resulted in the author’s MA dissertation, were also analyzed. The results of this research show that the school, believing that the children come from an unfavorable social-cultural environment, gives more weight to the written language to the detriment of oral language when teaching how to read. By being played down, orality loses its auxiliary function in the child’s symbolic construction which could help in the acquisition of literacy.

So what does a woman want? This article is not intended to answer that question, but to reflect on the reasons that make the question so popular both inside and outside the psychoanalytic field. The notion of femininity expressed by Freud throughout his work is discussed here, both in its conservative aspect of patriarchal morals and its uniqueness, pinpointing it as the origin of the human psyche in its condition as helpless. The image of the little girl lost in the forest in fairy tales is evoked to support and broaden this reflection. [ABSTRACT FROM AUTHOR]

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